Film Analysis: a Story of an Encounter and of an ethic

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The psychoanalytical perspective on cinema most frequently adopts either the logic of applied psychoanalysis or an ‘isomorphic’ stance. This limits the contribution that the encounter between cinema and psychoanalysis might have to offer if both fields were approached from a stance which respects th...

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Autor principal: Weyl, Dimitri
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2018
Materias:
Análisis fílmico
Cine
Psicoanálisis
Imagen-movimiento
Film analysis
Cinema
Psychoanalysis
Image-movement
Acceso en línea:https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22763
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10article-22763
record_format ojs
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Análisis fílmico
Cine
Psicoanálisis
Imagen-movimiento
Film analysis
Cinema
Psychoanalysis
Image-movement
spellingShingle Análisis fílmico
Cine
Psicoanálisis
Imagen-movimiento
Film analysis
Cinema
Psychoanalysis
Image-movement
Weyl, Dimitri
Film Analysis: a Story of an Encounter and of an ethic
topic_facet Análisis fílmico
Cine
Psicoanálisis
Imagen-movimiento
Film analysis
Cinema
Psychoanalysis
Image-movement
author Weyl, Dimitri
author_facet Weyl, Dimitri
author_sort Weyl, Dimitri
title Film Analysis: a Story of an Encounter and of an ethic
title_short Film Analysis: a Story of an Encounter and of an ethic
title_full Film Analysis: a Story of an Encounter and of an ethic
title_fullStr Film Analysis: a Story of an Encounter and of an ethic
title_full_unstemmed Film Analysis: a Story of an Encounter and of an ethic
title_sort film analysis: a story of an encounter and of an ethic
description The psychoanalytical perspective on cinema most frequently adopts either the logic of applied psychoanalysis or an ‘isomorphic’ stance. This limits the contribution that the encounter between cinema and psychoanalysis might have to offer if both fields were approached from a stance which respects the individual power and respective singularity. This paper presents a synthetic identification of what appears as essential in any research-based approach to this question, with an aim to making film analysis as fruitful as possible. Walter Benjamin was quick to recognise that psychoanalysis and cinema opened up new horizons in both seeing and listening, in ways that could not hitherto be seen or heard. He also realised that these two fields could be powerful in their complementarity. The language of cinema –when its true eloquence is recognised– enables us to depict the effects of the real in ways that no other material can. yet this paper argues that exploring harmonious connections between the gaze of psychoanalysis and that of cinema means that a ‘double focal point’ is created. Two focal points which, when they come together, bind the invisible with the visible - the invisible of unconscious stakes with the visible of the image in motion.
publisher Centro de Investigaciones y Estudios sobre Cultura y Sociedad
publishDate 2018
url https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22763
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AT weyldimitri elanalisisfilmicounahistoriadeencuentroydeetica
bdutipo_str Revistas
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